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WIGGLING 'LITE' IN GUEST MODE

Is your live set in stereo?
MUFF WIGGLER Forum Index -> Play Out! Performance Modulars  
Author Is your live set in stereo?
wminor
Hey friends.

I'm in the process of planning out my first few live sets, and I keep going back and forth on how much I should take panning and stereo fx in to account.

I know from my DJing days a long time ago that many club systems are mono, but I expect to be playing in at least a few situations where there might be a stereo system.

I'm curious to hear from other folks whether how important they think stereo stuff is when doing a live modular set. I appreciate that it varies a lot depending on context, so please share the types of environments you play in and the type of experience you're looking to create with your music as well.

Thanks!
authorless
If the venue isn't really small, people on the right side of the room wouldn't hear what is happening in the left speaker very well or at all. If you aren't bringing your own PA it is going to be mono.
versipellis
From my experience as an FOH engineer, many club systems are stereo now. The days of mono club systems are mostly gone.

I have stereo outs, but most of my stuff is mono (the only stereo stuff being things that pass through my FX modules like my Pico DSP).
Heliophile
Stereo can make a difference in many live situations, but will be a huge bonus if you ever want to record your live sets.
johny_gtr
Stereo is much interesting for drones and stereo bleeps. Especially in the year of stereo modules)
The Grump
I've been doing stereo for many years, but I'm starting to move into 4 mono streams, each of which are routed to panning systems in a spatialized sound environment. the first three have various movement patters, and the fourth just sits in the center, with the sub summed mono, and sent separately. Envelop is a good tool for doing this, though it's more geared for recorded material, so you'd have to record a clip, then play it through the Envelop suite. It doesn't really handle streaming live audio into it and spatializing it effectively, at least not that I've experienced. However, when it is working, it's pretty amazing, and it's free.

Stereo's cool, and it's your meat and potatoes, but it's kind of getting old. Spatialized sound is today and tomorrow, and it's just going to get better. And no, I don't mean just quad panning, I mean moving sound in a three dimensional space.
c0rpse
The Grump wrote:
Stereo's cool, and it's your meat and potatoes, but it's kind of getting old. Spatialized sound is today and tomorrow, and it's just going to get better. And no, I don't mean just quad panning, I mean moving sound in a three dimensional space.


I did a quad set in a small art studio with a friend. Monitoring was very tough. We could basically only hear the two speakers we were closest to. One of us had to walk around every once in a while to hear the other speakers and get a sense of the mix. We felt like it ended up taking away more than it added. We were also playing dance music, if that makes any difference.

My takeaway is that the performer, at least, needs to be in the center of the room.
13isaacz1
I use backing drums and often bass or samples when playing with my band and because of that the Left output on the interface is percussion and the Right is dedicated to samples or bass synth etc. This makes it a hell of a lot easier for the mixer and honestly stereo in clubs and bars is just a mess.
versipellis
The Grump wrote:
Stereo's cool, and it's your meat and potatoes, but it's kind of getting old. Spatialized sound is today and tomorrow, and it's just going to get better. And no, I don't mean just quad panning, I mean moving sound in a three dimensional space.


This is the one thing that I don't think you'll see an uptake of in club systems out of purpose-built Atmos/Ambisonics systems. There's just not enough content that utilizes this for clubs to want to install another 2 speaker stacks, and there's the logistics of running power/audio to them, as well as dealing with existing layouts (e.g. good luck setting up 2 more stacks if your club's coat check, bar, and entrance are all on the far wall).
ersatzplanet
authorless wrote:
If the venue isn't really small, people on the right side of the room wouldn't hear what is happening in the left speaker very well or at all. If you aren't bringing your own PA it is going to be mono.


The trick is only to have a few sounds panned hard left or right. Going 75% to one side is enough to fatten the sound but makes it easier to be heard by all. No some sounds that are meant to "fly around" can ignore that and go all the way. This can add a lot of tension and action to the mix.
ExtrasensoryPerception
I would say if your source/patch/system creates sounds that are spread in the stereo field via panning or spatial fx (delays, reverbs) then it's essential to maintain that during a live show.
The Grump
versipellis wrote:
The Grump wrote:
Stereo's cool, and it's your meat and potatoes, but it's kind of getting old. Spatialized sound is today and tomorrow, and it's just going to get better. And no, I don't mean just quad panning, I mean moving sound in a three dimensional space.


This is the one thing that I don't think you'll see an uptake of in club systems out of purpose-built Atmos/Ambisonics systems. There's just not enough content that utilizes this for clubs to want to install another 2 speaker stacks, and there's the logistics of running power/audio to them, as well as dealing with existing layouts (e.g. good luck setting up 2 more stacks if your club's coat check, bar, and entrance are all on the far wall).


It depends on where you are and the circles you travel in. I'm in the Bay Area, and while the Envelop System is the only major venue currently thus equipped that I am aware of, more small venues, and plenty of festivals are setting up for spatialized sound. More Ambisonics, less Atmos, partially because of the $$$ involved with outfitting a venue with a Dolby Atmos rig, versus just having a sound system capable of four corners sound with independent control over each, and having the inputs on the processors, as well as the engineer to reconfigure the processor/s so that the stacks independently listen to four or more input channels. It's not THAT big of a stretch for a lot of places. If the (four or more) stacks are independently fed, a laptop with an Envelop Decoder running on it, and a soundcard with five or more outs isn't difficult to plug into a processor, or a console that is wired to feed multiple inputs on said processor. 4-buss boards as mains are pretty well commonplace in most decent sized venues.

I can't vouch for other areas being fast to adapt to new sonic trends and technology, but I think as more artists prepare material that is easily adapted for spatialization, venues may be willing to try it out, especially if the venue owners are invited to attend evnts elsewhere that already utilize these technologies. Having the newest hottest shit in town is always an ego booster for venue owners.
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